Teresa Ortuzar started in the art by her own initiative. Her family, of traditional values, never had any direct contact with this discipline. For them, that path meant to many risks. In the search for stability, Ortuzar decided to study Journalism, at her 30s she could not stand it. The moment to give in to the art had arrived.
Nowadays, the painter and sculptor dedicates her full-time to the activity: “I spend every day locked in my workshop”, confesses Ortuzar for who the effort, and a pinch of talent, are the min condiments to reach success in the art. At the moment of defining a good artist from a bad one she thinks that while there is message to express no the reason is needed to shape a work of art.
Identity rooted in the past
“I feel like I will understand my history, just by understanding the history of men, the need of a mystery and the need of the divine” explains Teresa. Her work possesses an identity rooted in the past. Landscapes inhabited by feminine characters that makes us remember the essential nature of the myths and ancient tales. Is by the retrospective how a personal visual language is created.
For the artist the reality is built exactly as a puzzle. Through her assemblies and paintings she explores the physical and psychological dimension that allows the representation. All together the images transmit a great message that speaks “of positive things” such as the artist describes it.
Color is the main character of her work full of life “love color and I feel a colorist pioneer” affirms the artist, that consider this tool as the organic component of the artistic corpus. Color schemes filled with energy and vibration which invades her compositions which brings to the observer the strength and joy of the existence.
The narrative is other of the sources that nourishes Ortuzar’s work. Authors as Gozalo Rojas, Pablo Neruda, Gabriela Mistral, and other Chilean artists spread their stories as seeds for the artist to take them and reconfigure them from the visualization. Is in this way how the artist goes weaving an inter medial speech that mixes poetry with literature with the pictorial support.
Related to the possibility of exploring new techniques, the chilean is open to multiple possibilities: “there are so many things that I do not know about that I am always sniffing around. For example, Claudia Adriazola has just give a workshop of Encaustic painting, a millenary technique, and just like that there is an interest in the polymers or in the ink.”
In this constant research, her last exhibition “Tonicos” she based on the petic piece of Marcela Albornoz to create a series of seven paintings. W I worked with a great poetess, Marcela Albornoz and there was a beautiful connection with her and her words. It was a beautiful journey”, remembers the painter, to whom the reception of the audience was extremely praising.